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From right to left: Brittany Engel-Adams, Vincent McCloskey, Brittany Bailey, and David Thomson in Yvonne Rainer’s Hellzapoppin’: What About the Bees? , 2022. Courtesy: Performa and New York Live Arts. Photo: Maria Baranova

From right to left: Brittany Engel-Adams, Vincent McCloskey, Brittany Bailey, and David Thomson in Yvonne Rainer’s Hellzapoppin’: What About the Bees?, 2022. Courtesy: Performa and New York Live Arts. Photo: Maria Baranova

Last Chance

Premiered in Europe last month at Kunsthalle Baden-Baden, Yvonne Rainer’s final performance aspires to complicate her legacy on questions of exclusion.

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Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Fortunate Fall

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

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Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Organization vs. Institution

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

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View of Matthew Gasda, Dover , Beckett’s, New York, 22 Januar 2023. Photo: Matthew Weinberger

View of Matthew Gasda, Dover, Beckett’s, New York, 22 January 2023. Photo: Matthew Weinberger

Tainted Love: on Matthew Gasda’s “Dover”

Is the tragic hero even possible in 2023? Not really. But Matthew Gasda’s latest play does confront us with the moral quandaries that come with drama, conflict, and power games.

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Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

The Many Lives

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

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Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

Post-anthro Dust-ups

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

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All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

The Magic of Barely Noticeable Breaks

At the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

Discourse
Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior 

Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior 

User Error: Neostalgia

Forget Y2K; the 2010s are already back again. But retromania leads us down into a labyrinth of data horror, writes Adina Glickstein in her February column. 

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Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2 , 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève

Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2 (detail), 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève

Rolling the Mudball: An Interview with Will Benedict

Fresh off a retrospective at Centre d’Art Contemporain Genève, the artist speaks to Mitchell Anderson about trying to prove the hard materiality of time.

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Paula Rego, The Dance , 1988, acrylic on paper on canvas, 213.5 x 274.5 cm.  © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

Paula Rego, The Dance, 1988, acrylic on paper on canvas, 213.5 x 274.5 cm. © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

Getting Even

At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.

Discourse
“The Happy Nut.” Courtesy: Kindred Black

“The Happy Nut.” Courtesy: Kindred Black

WORN OUT: Stay Ethereal

For her first column of 2023, Cara Schacter looks under the soft, draped gown of fashion’s obsession with everything angelic.

"Talk remains cheap – which doesn’t mean we should buy it"

-Ella Plevin

Outrage Inactivism